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Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 8-21-2019 An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts Megan Marie Carlan Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Music Business Commons An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts By Megan Marie Carlan Arts and Entertainment Management Dr. Theresa Lant Lubin School of Business August 21, 2019 Abstract Ranging from inspirational songs void of theological language to worship music imbued with overt religious messages, Contemporary Christian Music (CCM) has a long history of being ill-defined. Due to the genre’s flexible nature, many Christian artists over the years have used vague imagery and secular lyrical content to find favor among mainstream outlets. This study examined the most recent ten-year period of CCM to determine its ability to cross over into the mainstream music scene, while also assessing the impact of its lyrical content and genre on the probability of reaching such mainstream success. For the years 2008-2018, Billboard data were collected for every Christian song on the Hot 100, Hot Rock Songs, or Hot Country Songs in order to detect any noticeable trend regarding the rise or fall of CCM; each song then was coded for theological language. No obvious trend emerged regarding the mainstream success of CCM as a whole, but the genre of Rock was found to possess the greatest degree of mainstream success. Rock also, however, was shown to have a very low tolerance for theological language, contrasted with the high tolerance of Country. As such, it is reasonable to question whether Mainstream Christian Rock is even really Christian at all. 1 Table of Contents Abstract……………………………………………………………………………………………1 List of Figures……………………………………………………………………………………..3 Introduction………………………………………………………………………………………..4 Literature Review………………………………………………………………………………….4 History of Christian Music………………………………………………………………...4 The Jesus Movement and Christian Rock………………………………………....4 1980s & 1990s…………………………………………………………………….6 The Decline of Mainstream CCM………………………………………………....7 The Rise of Worship Music……………………………………………………….8 Christian Music Today…………………………………………………………………….9 Lauren Daigle……………………………………………………………………..9 Kanye West……………………………………………………………………....10 Tori Kelly………………………………………………………………………...11 Avril Lavigne…………………………………………………………………….11 Crossovers……………………………………………………………………………….12 Methodology……………………………………………………………………………………..14 Data Analysis…………………………………………………………………………………….15 Crossover Success………………………………………………………………………..15 Lyrical Content…………………………………………………………………………...17 2 Conclusion………………………………………………………………………………………..2 4 Works Cited……………………………………………………………………………………….26 List of Figures Figure Page 1 Descriptive Data for Christian Crossover Singles on Hot 100 Chart (2008-2018) …………..16 2 Descriptive Data for Christian Crossover Singles on Hot Rock Songs Chart (2008-2018)......16 3 Descriptive Data for Christian Crossover Singles on Hot Country Songs Chart (2008-2018)..17 4 Average Theological Words Per Song on Hot 100 Chart……………………………………...18 5 Average Theological Words Per Song on Hot Rock Songs Chart………………………….….18 6 Average Theological Words Per Song on Hot Country Songs Chart……………………….…19 7 Top Ten Hot Rock Christian Crossover Songs (weeks on chart and theological word counts).21 8 Top Ten Hot Country Christian Crossover Songs (weeks on chart and theological word counts)............................................................................................................................................22 9 Top Ten Hot 100 Christian Crossover Songs (weeks on chart and theological word counts).. 23 3 Introduction For a long time, a standard understanding of Christian Music included songs with blatantly theological lyrics that alienated infrequent church attendees, or songs that failed to reach beyond church-going crowds because they were never aired on secular radio stations. In the past year, however, there has been a noticeable shift of CCM into the mainstream music scene via artists such as Lauren Daigle and Tori Kelly that have created legitimate questions regarding what constitutes actual “Christian Music.” Literature Review History of Christian Music Contemporary Christian Music (CCM) or what some might call “inspirational music” is a genre of music that focuses on God and Christianity. It is the result of the marriage of two seemingly contradictory genres, but by the end of the 1960s, it had radically grown in acceptance both by the church and secular music scenes. The Jesus Movement and Christian Rock Although the term CCM had not yet been coined, the genre’s roots go back to the late 1960s and early 1970s when young Christians of the hippie generation began creating “Jesus Music” (Prothero 132) that was more contemporary than hymns and gospel music within the 4 church at the time. In his Contemporary Worship Music, John Frame wrote "About that time, ​ ​ many young people from the sixties' counterculture professed to believe in Jesus. Convinced of the bareness of a lifestyle based on drugs, free sex, and radical politics, 'hippies' became Jesus people" (52). In a 2018 New Yorker article “The Unlikely Endurance of Christian Rock”, Kelefa ​ ​ Sanneh described that time period as what Tom Wolfe called “one of the most extraordinary religious fevers of all time” fueled by “the hippie movement, with its eagerness to remake society.” It was during this religious fever that we see gospel music take its first steps into the mainstream with Christian Rock. Until this point, the general attitude of the church toward contemporary Christian music is best reflected in a 1958 advice column by Martin Luther King Jr. in response to a young musician’s question about being both a gospel and rock n roll musician: “The profound sacred and spiritual meaning of the great music of the church must never be mixed with the transitory quality of rock and roll music.” Less than a year later, however, “King’s protégé Andrew Young declared that rock and roll had done ‘more for integration than the church’” (Sanneh). Ultimately, the acceptance of Jesus Music into the 1970s mainstream essentially created an industry of its own. Paul Wohlegemuth, author of Rethinking ​ Church Music, even predicted "[the] 1970s will see a marked acceptance of rock-influenced ​ music in all levels of church music. The rock style will become more familiar to all people, its rhythmic excesses will become refined, and its earlier secular associations will be less remembered” (Baker 140). His predictions proved valid when churches who originally dismissed Rock n Roll as “sinful” began adapting the music to appeal to young people. Much of the success of Christian Rock during this time can be credited to Larry Norman, the “founding father of Christian Rock”. He released his first solo Christian album called Upon ​ 5 This Rock, a concept album in 1969 that was considered to be the first full-blown Christian rock ​ album. The music of the album was “a blend of folk, psychedelic, and rock influences,'' ​ ​ ​ ​ ​ ​ ​ combined with "street language and gritty imagery" (Thompson 49). Norman is a perfect example of how some Christian artists began using non-traditional music and lyrics in order to cast a wider net into the music scene and blur the lines of genre. This is a common tactic still used today by CCM artists to enter into mainstream spaces, and it begs the question that this paper will begin to tackle: is this music truly “Christian” or just inspirational? The genre of “Contemporary Christian Music” didn’t officially develop in the music industry until 1975 when Myrrh Records began to sign Christian rock bands (McNeil 266). The term was coined by a critic named Ron Moore in 1976 when he used it to describe Richie Furay’s rock album I’ve Got a Reason which reflected Furay’s newfound Christian beliefs ​ ​ (Nanamaker). Furay was another in a long line of popular artists that pushed the boundaries of their genres into Christian music. Since Larry Norman and the 1970s Jesus Movement, CCM continued to develop into a very profitable genre of music. However, a huge reason for its mainstream success is its ability to blur the lines of the genre like Norman with Upon This Rock and Furay with I’ve Got a Reason. ​ ​ ​ ​ While the inspiration and meaning behind CCM is the gospel of Jesus Christ, not all of the music under this category explicitly states the religious beliefs behind it. The ability to blur these lines is the common thread throughout any CCM song in history that’s achieved mainstream success. Early pioneers like Norman and Furay set the tone of Christian music for decades to come. 1980s & 1990s 6 Because of the success of these early crossover pioneers’ ability to blur the lines of genre, the Jesus music phenomenon grew into a multimillion-dollar industry by the 1980s (Powell). Artists like Amy Grant, Michael W. Smith, and Jars of Clay were able to find major crossover success in the mainstream Top 40. The 1980s also found the CCM genre to be a broader, more all-encompassing genre than Christian Rock of the 1960s and 1970s. Amy Grant, for instance, is considered the “Queen of Christian Pop” and another prime example of how vague lyrics and imagery can successfully catapult a Christian song into the mainstream. In The Week’s 2016 ​ ​ article entitled “Who Killed the Contemporary Christian Music Industry?”,

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